Ir para o menu de navegação principal Ir para o conteúdo principal Ir para o rodapé
##common.pageHeaderLogo.altText##

TRADUÇÕES

v. 13 (2025): Percepta - Revista de Cognição Musical

Uma Teoria cognitiva do sentido musical

DOI
https://doi.org/10.34018/2318-891X.13e025011
Enviado
agosto 29, 2025
Publicado
03.12.2025

Resumo

Este artigo apresenta os contornos de uma teoria do sentido musical amparando-se nas ciências cognitivas. A partir da exposição das teorias que fundamentam o conceito de cognição incorporada, o artigo reflete sobre a teoria musical tanto em níveis elementares quanto avançados. Finalmente, propõe uma metodologia original, oferecendo uma ferramenta analítica baseada na nova compreensão adquirida sobre o sentido musical.

Referências

  1. Agawu, V. Kofi. 1991. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press.
  2. Arnheim, Rudolf. 1984. “Perceptual Dynamics in Musical Expression.” The Musical Quarterly 70 (3): 295–309.
  3. Balzano, Gerald. 1980. “The Group-Theoretical Description of 12-Fold and Microtonal Pitch Systems.” Computer Music Journal 4/4: 66–84.
  4. Brower, Candace. 1989. “Dramatic Structure in Schoenberg's Opus 11, Number 1.” Music Research Forum 4: 25–52.
  5. ———. 1997. “Pathway, Blockage, and Containment in Density 21.5.” Theory and Practice 22: 35-54.
  6. Butler, David. 1992. The Musician's Guide to Perception and Cognition. New York: Schirmer Books.
  7. Carey, Norman, and David Clampitt. 1989. “Aspects of Well-Formed Scales.” Music Theory Spectrum 11/2: 187–206.
  8. Churchland, Paul M. 1995. The Engine of Reason, the Seat of the Soul. Cambridge, Massachusetts: The MIT Press.
  9. Cohn, Richard. 1996. “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions.” Music Analysis 15/1: 9-40.
  10. ———.1997. “Neo-Riemannian Operations, Parsimonious Trichords, and Their Ton- netz Representations.” Journal of Music Theory 41/1: 1–66.
  11. Cone, Edward. 1974. The Composer's Voice. Berkeley: University of California Press.
  12. Cook, Nicholas. 2001. “Theorizing Musical Meaning.” Music Theory Spectrum 23/2: 170-95.
  13. Cox, Arnie. 1999. The Metaphoric Logic of Musical Motion and Space. Ph.D. dissertation, University of Oregon. Ann Arbor, Michigan: University Microfilms.
  14. Damasio, Antonio. 1989. “The Brain Binds Entities and Events by Multiregional Activation from Convergence Zones.” Neural Computation 1: 123–32.
  15. ———.1999. The Feeling of What Happens. New York: Harcourt, Brace, and Co.
  16. Deacon, Terrence. 1997. The Symbolic Species. New York: W.W. Norton.
  17. Edelman, Gerald. 1989. The Remembered Present. New York: Basic Books. Fauconnier, Gilles, and Mark Turner. 1998. “Conceptual Integration Networks.” Cognitive Science 22/2: 133-87.
  18. Feld, Steven. 1981. “*Flow Like a Waterfall': The Metaphors of Kaluli Musical Theory.” Yearbook for Traditional Music 13: 22-47.
  19. Hatten, Robert. 1994, Musical Meaning in Beethoven. Bloomington: Indiana University Press.
  20. Hofstadter, Douglas. 1979. Gödel, Escher, Bach: An Eternal Golden Braid. New York: Basic Books.
  21. Hyer, Brian. 1995. “Reimag(in)ing Riemann.” Journal of Music Theory 39/1: 101–38. Johnson, Mark. 1987. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago: University of Chicago Press.
  22. ———. 1993. Moral Imagination. Chicago: University of Chicago Press. Kostka, Stefan, and Dorothy Payne. 1995. Tonal Harmony. 3rd ed. New York: McGraw-Hill.
  23. Krumhansl, Carol. 1979. “The Psychological Representation of Musical Pitch in a Tonal Context.” Cognitive Psychology 11: 346–74.
  24. ———. 1990. Cognitive Foundations of Musical Pitch. New York: Oxford University Press.
  25. Lakoff, George. 1987. Women, Fire, and Dangerous Things. Chicago: University of Chicago Press.
  26. Lakoff, George, and Johnson, Mark. 1980. Metaphors We Live By. Chicago: University of Chicago Press.
  27. ———. 1999. Philosophy in the Flesh, New York: Basic Books.
  28. Lakoff, George, and Mark Turner. 1989. More than Cool Reason: A Field Guide to Poetic Metaphor. Chicago: University of Chicago Press.
  29. Larson, Steve. 1993. “Scale-Degree Function: A Theory of Expressive Meaning and Its Application to Aural-Skills Pedagogy.” Journal of Music Theory Pedagogy 20: 69-84.
  30. ———. 1997. “Musical Forces and Melodic Patterns.” Theory and Practice 22: 55-72.
  31. Lerdahl, Fred. 1988. “Tonal Pitch Space.” Music Perception 5: 315–50.
  32. Lewin, David. 1984. “Amfortas's Prayer to Titurel and the Role of D in Parsifal: The Tonal Spaces of the Drama and the Enharmonic Cb/B.” 19th-Century Music 8/3: 336-49.
  33. ———. 1987. Generalized Musical Intervals and Transformations. New Haven: Yale University Press.
  34. Margolis, Howard. 1987. Patterns, Thinking, and Cognition: A Theory of Judgment. Chicago: University of Chicago Press.
  35. Monelle, Raymond. 2000. The Sense of Music. Princeton: Princeton University Press. Nattiez, Jean-Jacques. 1975. Fondements d'une sémiologie de la musique. Paris: Union Générale d'Éditions.
  36. Newcomb, Anthony. 1984. “Sound and Feeling.” Critical Inquiry 10: 614-43. Rameau, Jean-Philippe. 1754. Observations sur notre instinct pour la musique. Paris: Prault fils.
  37. Ratner, Leonard. 1980. Classic Music: Expression, Form, and Style. New York: Schirmer Books.
  38. Révész, Geza. 1913. Zur Grundlegung der Tonpsychologie. Leipzig: Veit. English trans., Introduction to the Psychology of Music. Norman: University of Oklahoma Press, 1954.
  39. Ruwet, Nicholas. 1972. Langage, musique, poésie, Paris: Seuil.
  40. Saslaw, Janna. 1996. “Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music.” Journal of Music Theory 40/2: 217-44.
  41. ———. 1997. “Life Forces: Conceptual Structures in Schenker's Free Composition and Schoenberg's The Musical Idea.” Theory and Practice 22: 17-34. Saslaw, Janna, and James Walsh. 1996. “Musical Invariance as a Cognitive Structure: 'Multiple Meaning' in the Early Nineteenth Century.” In Ian Bent, ed., Music Theory in the Age of Romanticism. Cambridge: Cambridge University Press.
  42. Schenker, Heinrich. 1979. Free Composition. Translated by Ernst Oster. New York and London: Longman.
  43. Schoenberg, Arnold. 1967. Fundamentals of Musical Composition. London: Faber and Faber.
  44. Sessions, Roger. 1950. The Musical Experience of Composer, Performer, and Listener. Princeton: Princeton University Press.
  45. Shepard, R. N. 1964. “Circularity in Judgments of Relative Pitch.” Journal of the Acoustical Society of America 36: 2345–53.
  46. Steblin, Rita. 1981. A History of Key Characteristics in the Eighteenth and Early Nineeenth Centuries. Rochester, NY: University of Rochester Press.
  47. Tarasti, Eero. 1994. A Theory of Musical Semiotics. Bloomington: Indiana University Press.
  48. Terhardt, Ernst. 1974. “Pitch, Consonance, and Harmony.” Journal of the Acoustical Society of America 55/5: 1061-69.
  49. ———. 1979. “Calculating Virtual Pitch.” Hearing Research 1: 155–82.
  50. ———. 1984. “The Concept of Musical Consonance: A Link between Music and Psychoacoustics.” Music Perception 1/3: 276–95.
  51. Todorov, Tzvetan. 1981. Introduction to Poetics. Translated by Richard Howard. Minneapolis: University of Minnesota Press.
  52. Turner, Mark. 1991. Reading Minds. Princeton: Princeton University Press.
  53. ———. 1996. The Literary Mind. New York: Oxford University Press.
  54. Turner, Mark, and Gilles Fauconnier. 1995. “Conceptual Integration and Formal Expression.” Metaphor and Symbolic Activity 10/3: 183-204.
  55. Vogler, Georg Joseph. 1779. “Ausdruck, (musikalisch).” Deutsche Encyclopädie, oder Allgemeines Real-Wörterbuch aller Künste und Wissenschaften. Edited by H. M. G. Köster and J. F. Roos. 23 vols. Frankfurt-am-Main: Varrentrapp Sohn und Wenner, 1778-1804.
  56. Walser, Robert. 1991. “The Body in the Music: Epistemology and Musical Semiotics.” College Music Symposium 31: 116–26.
  57. Zarlino, Gioseffo. 1558. On the modes: Le istitutioni harmoniche, part 4. Translated by Vered Cohen. New Haven: Yale University Press, 1983.
  58. Zbikowski, Lawrence. 1997. “Conceptual Models and Cross-Domain Mapping: New Perspectives on Theories of Music and Hierarchy.” Journal of Music Theory 41/2: 193-225.
  59. ———. 1999. “The Blossoms of ‘Trockne Blumen’: Music and Text in the Early Nineteenth Century.” Music Analysis 18/3: 307–45.

Artigos Semelhantes

1 2 3 4 5 6 7 8 9 10 > >> 

Você também pode iniciar uma pesquisa avançada por similaridade para este artigo.